Michael Bradley is a director, performer, and theatre creator from Kingston, Ontario, and holds an MFA in Directing from the University of Alberta. Michael trained as an actor at the University of Toronto and Sheridan College’s joint conservatory program, and holds an Honours BA in Theatre and Drama Studies.  

His research and training at the U of A culminated in Michael writing and directing a new contemporary adaptation of Ibsen’s The Lady from the Sea.  He also directed his own adaptation of Hamlet, Carol Churchill’s Ice Cream (Act I), Tennessee Williams’ And Tell Sad Stories About the Deaths of Queens, and Eugene O’Neill’s A Moon for the Misbegotten. Past professional directing credits include A Midsummer Night’s Dream, Dennis Hayes’ Spaces and The Tree, and Nicole St. Martin’s physical theatre adaptation of James Reaney’s The Box Social.
Michael was part of the devising and performance of the installation piece ​Enough Rope at the Drake Hotel and Summerworks in Toronto. Theatrical acting credits include Mine and The Star Spangled Girl for Globus Theatre, Graham McLaren's Andromache with Necessary Angel at the Luminato Festival, Stanley in A Streetcar Named Desire, Danny in Grease, Puck in A Midsummer Night’s Dream, as well as roles in Much Ado About NothingTroilus and Cressida, and Julius Caesar. Michael's television credits include Designated SurvivorIncorporatedReignMurdoch MysteriesCopper, and Cracked. Michael is a member of CAEA and ACTRA.

Michael’s current and upcoming projects include directing Steve Martin’s Wasp and Guillotine for the 2018 Edmonton International Fringe Festival, and Paul Down’s Collaizzo’s Really Really at the University of Toronto. He continues to partner with Workshop West Playwright’s Theatre in Edmonton on new play dramaturgy and mentorship initiatives. Passionate about the transformative power of adaptation, Michael is working on a multinational project dealing with structures of power, colonialism, and patriarchy, and how they manifest and intersect with the works of Shakespeare. The first two stages of this endeavour will be a devised project with South African actors based on the Robben Island Shakespeare, and an Edmonton-based deconstructive adaptation of Richard III with female and non-binary collaborators investigating gendered power and destructive masculinity.